les albums, photos, cartes postales de ces inconnus.This is Sara (and her husband). I found her on the flea market last Saturday. 3 photo albums from the 1940s full of storys. And fashion. But above all, full of happiness. Here we are, June 1941, Madeira Island.
The physicality of paper invites us to stack and tear and tape and fold and occasionally even fashion a missile to hurl at a beloved family pet. Paper is there, and it inarguably represents the purest and most durable instance of the WYSIWYG interface.
exhibition "InGrezen Frei" : http://www.berlin.de/orte/museum/kunstgewerbemuseum/index.fr.php Dans la RDA des année 80 le vêtement était un produit standardisé et fonctionnel laissant peu de place pour un style personnel qui permettait de se démarquer. L’exposition"InGrezen Frei" (libre dans certaine limite) au musée des "arts décoratifs" de Berlin montre qu’un mouvement à ermergé entre 1979 et 1989...un mouvement qui montrait que cette jeunesse résistait à l’Etat par le refus d’une mode collective en portant des vêtements de création unique. Ces collectifs clandestins fabriquaient leurs propres vêtements et organisaient des défilés de mode. Autre lien en français : http://www.leparisien.fr/flash-actualite-culture/dans-la-rda-des-annees-1980-une-guerilla-vestimentaire-contre-la-dictature-26-07-2009-590909.php
exhibition "InGrezen Frei" : http://www.berlin.de/orte/museum/kunstgewerbemuseum/index.fr.php Dans la RDA des année 80 le vêtement était un produit standardisé et fonctionnel laissant peu de place pour un style personnel qui permettait de se démarquer. L’exposition"InGrezen Frei" (libre dans certaine limite) au musée des "arts décoratifs" de Berlin montre qu’un mouvement à ermergé entre 1979 et 1989...un mouvement qui montrait que cette jeunesse résistait à l’Etat par le refus d’une mode collective en portant des vêtements de création unique. Ces collectifs clandestins fabriquaient leurs propres vêtements et organisaient des défilés de mode. Autre lien en français : http://www.leparisien.fr/flash-actualite-culture/dans-la-rda-des-annees-1980-une-guerilla-vestimentaire-contre-la-dictature-26-07-2009-590909.php
"The FADER, or FADER, is an United States-based music/culture/fashion magazine that covers hip-hop, reggae, independent rock, pop and dance music from around the world. Founded by Rob Stone and Jon Cohen in 1998, The FADER is a freestanding, independent New York City-based magazine." Wikipedia
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"COILHOUSE is a love letter to alternative culture, written in an era when alternative culture no longer exists. And because it no longer exists, we take from yesterday and tomorrow, from the mainstream and from the underground, to construct our own version. We cover art, fashion, technology, music and film to create an alternative culture that we would like to live in, as opposed to the one that’s being sold or handed down to us. The result, in the form of articles, features and interviews, is laid out on our blog and in our print magazine for all to see. " From "cryptohistory and misanthropology" to "Genghis Khan’s bow" and "body scaffolding"
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# Why is the standard Scala actor implementation so complex when others have done it in a such simpler fashion? # Is it better to have one, big actor library that supports a wide variety of use cases, or a bunch of smaller ones targeted at specific niches and programming styles? # If there are to be a bunch, should they just be conceptually similar (e.g. all based on the actor model), or should there be interoperability among them?
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